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Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

Across sculpture, performance and moving image, @youngjun.tak examines the tension between sameness and difference. Inspired by early experiences working as an auditorium usher and magazine editor, the Seoul-born, Berlin-based artist renders what is ostensibly incompatible as harmonious. Within his mixed-media work, Tak draws upon the queer body as a central theme, imploring movement, choreography and gaze to frequently challenge established notions of identity and selfhood. His practice engages a broad spectrum of belief systems, be that political, spiritual, religious or cultural. For instance, in his film Love Your Clean Feet on Thursday (2023), hypermasculinity and hyperfemininity interweave, while in his sculpture Salvation (2016), the sacred and the sacrilegious collide. Throughout his extensive and diverse catalogue of work, Tak explores polarisation as an existential condition.⁠
⁠
Amidst the sustained run of major international solo and group exhibitions, Tak speaks with @oscarbloomfield about how he illuminates fundamental human concerns through art. Read at the link in bio. ⁠

신작 영상 〈고동치네〉(2026)는 가덕도에서 200년 된 숭어들이 전통의 제18대 마지막 어로장 김유성 어르신의 눈빛과 베를린 티에르가르텐 공원을 서성이는 한 남성의 욕망 어린 시선을, 베를린 대교회 오르간 연주자 안드레아스 질링의 서정적 음악과 함께 교차합니다.
The new film 𝙋𝙪𝙡𝙨𝙖𝙩𝙞𝙣𝙜 (2026) juxtaposes two intense gazes with the melancholic music by Andreas Sieling, the organist of Berlin Cathedral: the searchlight-like eyes of the 18th-generation fish watcher, the last follower of the 200-year-old fishing tradition in Busan, and the lustful stare of a young man in Berlin-Tiergarten.

루프 플러스 부산 LOOP PLUS Busan @loopplus.official
Grand Josun Busan
23–26.4.2026

Super thankful to @olafstueber @videoartatmidnighteditions the curator and commissioner and @_lisa_long_ for the wonderful text!

Credits
Director and Producer Young-jun Tak

Actor Pierre Emö
Fish Watcher 김유성
Organist Andreas Sieling

Directors of Photography 박동석(스튜디오 정비소), Valentin Braun
Organ Recordist Aude Langlois

Editor Clémentine Decremps
Colorist Valentin Braun
Sound Mixer Felipe Vareschi

Locations
Gadeok Island, Busan
Tiergarten, Berlin
Berliner Dom, Berlin

Music
Andreas Sieling — Louis Vierne, Organ Symphony No. 3 in F-Sharp Minor, Op. 28, IV. Adagio, 1911; recorded at Berliner Dom (Berlin Cathedral), Berlin, 2026

Commissioned by Olaf Stüber, VIDEOART AT MIDNIGHT, Berlin

Special Thanks
김창일, 김태인, 김현준, 류지혜, 이동근, Lisa Long

Videoart at Midnight takes part at @loopplus.official 

April 23-26, Grand Josun Busan



premiering:
Young-jun Tak – Pulsating | 고동치네 , 2026
4K video, CinemaScope (2.39:1), color stereo, 8:20 min


Each spring on Gadeok Island in Busan, a “fish watcher” observes the sea for subtle shifts in color that signal the arrival of spawning gray mullet, continuing a 200-year-old tradition of collective, attentive labor. Approximately 5000 miles away, a young man moves through Berlin’s Tiergarten, scanning the landscape with a similarly focused, desirous gaze. In Pulsating (2026), part of Young-jun Tak’s ongoing Ways of Lives series, these two modes of watching are brought into relation, linking labor, masculinity, and queer desire across different cultural contexts. Through close, psychologically charged camerawork and an oscillating organ score, the film sustains a tension between observation, anticipation, and the search for connection.

Let’s meet in Busan

#LOOPPLUS #LOOPPLUS2026
#루프플러스 #루프플러스2026

Videoart at Midnight takes part at @loopplus.official 

April 23-26, Grand Josun Busan



premiering:
Young-jun Tak – Pulsating | 고동치네 , 2026
4K video, CinemaScope (2.39:1), color stereo, 8:20 min


Each spring on Gadeok Island in Busan, a “fish watcher” observes the sea for subtle shifts in color that signal the arrival of spawning gray mullet, continuing a 200-year-old tradition of collective, attentive labor. Approximately 5000 miles away, a young man moves through Berlin’s Tiergarten, scanning the landscape with a similarly focused, desirous gaze. In Pulsating (2026), part of Young-jun Tak’s ongoing Ways of Lives series, these two modes of watching are brought into relation, linking labor, masculinity, and queer desire across different cultural contexts. Through close, psychologically charged camerawork and an oscillating organ score, the film sustains a tension between observation, anticipation, and the search for connection.

Let’s meet in Busan

#LOOPPLUS #LOOPPLUS2026
#루프플러스 #루프플러스2026

Videoart at Midnight takes part at @loopplus.official 

April 23-26, Grand Josun Busan



premiering:
Young-jun Tak – Pulsating | 고동치네 , 2026
4K video, CinemaScope (2.39:1), color stereo, 8:20 min


Each spring on Gadeok Island in Busan, a “fish watcher” observes the sea for subtle shifts in color that signal the arrival of spawning gray mullet, continuing a 200-year-old tradition of collective, attentive labor. Approximately 5000 miles away, a young man moves through Berlin’s Tiergarten, scanning the landscape with a similarly focused, desirous gaze. In Pulsating (2026), part of Young-jun Tak’s ongoing Ways of Lives series, these two modes of watching are brought into relation, linking labor, masculinity, and queer desire across different cultural contexts. Through close, psychologically charged camerawork and an oscillating organ score, the film sustains a tension between observation, anticipation, and the search for connection.

Let’s meet in Busan

#LOOPPLUS #LOOPPLUS2026
#루프플러스 #루프플러스2026

Mom visiting me and our ancestor General Im Gyeong-eop from the Joseon dynasty, who has been worshiped as God of Fishing along the west coast of the Korean peninsula, at @artsonje_center × @sunpridefoundation in Seoul 💕 The journey begins for the 2028 project 🎣✨

Many thanks to Young-jun Tak 탁영준 卓永俊 (@youngjun.tak) for the interview at Lions’ Bridge in Berlin’s Tiergarten to mark the premiere of your latest work, “Pulsating”, as part of @loopplus.official in Busan, South Korea (23–26 April 2026). It deals with a fishing culture in Busan threatened with extinction, the cruising culture in Berlin’s Tiergarten, and an organ work by Louis Vierne, performed by Andreas Sieling (@domorganistberlin) in Berlin Cathedral.

Stay tuned! @videoartatmidnighteditions 



Thank you DOP Mai Nguyen (@maiyezn) © Mai Nguyen

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Gomawo, Seoul, Busan, and Gangneung for the best treats during my longest stay 💕 Shine through more till next time ✨

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Scenes from 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026), the performance, commissioned by Seoul Museum of Art @seoseoulmuseumofart and curated by Sungmin Lee Jeong @ljsungmin ❤️ It is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who influenced my spiritual growth. As if retracing the past days of the new branch of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

Holding an end of a long wooden plank, the two performers begin a march of recollection from distant, unseen points within the museum, eventually arriving at opposite ends of the main exhibition hall. In the center of the space—bathed in the red-orange glow of twilight, signaling both an end and a beginning—they meet unexpectedly, reawakening desire, relinquishing that mirage-like experience, and blurring the boundary between presence and absence.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name “boy” and “son” Whitman once used for him—summoning and calling forth the meaning of existence.

Photos by Seo-Seoul Museum of Art, Dong-woong Lee and Ji-young Lee

Credits
Director Young-jun Tak

Actors Eun-seok Kim, Jae-yup Seol
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Chulsoom Kim, Daul Rheem

Light Technician Yeon-hwa Gong
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Another goodbye to Singapore Biennale 2025, thanking for co-commissioning the latest film @duncanny_valley, @seleneysh, Hsu Fang-Tze, Ong Puay Khim and installing it in perfection @two_considerate, @sssseeeeooookkkk 💕

Goodbye to Taipei Biennial 2025, thinking of @sbardaouil, @till.fellrath, @johsiao1961, Selene, @sunpridefoundation, and all old and new relationships through you on its last day at @tfam_museum 💕

Commissioned by Seoul Museum of Art, 𝘽𝙡𝙪𝙧𝙧𝙮 (2026) is on view until today, March 22 at the new SeMA branch @seoseoulmuseumofart, curated by Sungmin Lee Jeong @ljsungmin ✨

This film was inspired by my personal experience of an aircraft deicing procedure, observed while waiting for takeoff inside a plane. The movements of the nozzles around the wings appeared to me as a kind of mechanical choreography.

In the film, the visuals of the deicing process are accompanied by Andante No. 2 “Choeur de Voix humaines” by Louis James Alfred Lefébure-Wély, performed by Andreas Sieling, organist of Berlin Cathedral. Between these sequences, two men are shown sitting inside an airplane cabin, their dialogue hovering on the threshold between intimacy and distance.

Credits
Director and Producer Young-jun Tak

Organist Andreas Sieling @domorganistberlin
Voice Actors Laurenz Laufenberg @laurenzlaufenberg, Lukas Turtur @lukasturtur

Director of Photography Jubal Battisti
Sound Recordists Ingar Pederson, Miche Moreno
Location Coordinators Torry-Alexander Engh, Dag-Henning Hansen

Editor Clémentine Decremps
Assistant Editors Jake Flowers, Théo Perrot
Sound Mixer Felipe Vareschi
Colorist Sergej Jurisdizkij

Location
Oslo Gardermoen Airport

Music
Andreas Sieling — Louis James Alfred Lefébure-Wély, Andante “Choeur de Voix Humaines” (Op. 122, No. 7), 1858; recorded at Berliner Dom (Berlin Cathedral), Berlin, 2025

Commissioned by Seoul Museum of Art

Commissioned by Seoul Museum of Art, 𝘽𝙡𝙪𝙧𝙧𝙮 (2026) is on view until today, March 22 at the new SeMA branch @seoseoulmuseumofart, curated by Sungmin Lee Jeong @ljsungmin ✨

This film was inspired by my personal experience of an aircraft deicing procedure, observed while waiting for takeoff inside a plane. The movements of the nozzles around the wings appeared to me as a kind of mechanical choreography.

In the film, the visuals of the deicing process are accompanied by Andante No. 2 “Choeur de Voix humaines” by Louis James Alfred Lefébure-Wély, performed by Andreas Sieling, organist of Berlin Cathedral. Between these sequences, two men are shown sitting inside an airplane cabin, their dialogue hovering on the threshold between intimacy and distance.

Credits
Director and Producer Young-jun Tak

Organist Andreas Sieling @domorganistberlin
Voice Actors Laurenz Laufenberg @laurenzlaufenberg, Lukas Turtur @lukasturtur

Director of Photography Jubal Battisti
Sound Recordists Ingar Pederson, Miche Moreno
Location Coordinators Torry-Alexander Engh, Dag-Henning Hansen

Editor Clémentine Decremps
Assistant Editors Jake Flowers, Théo Perrot
Sound Mixer Felipe Vareschi
Colorist Sergej Jurisdizkij

Location
Oslo Gardermoen Airport

Music
Andreas Sieling — Louis James Alfred Lefébure-Wély, Andante “Choeur de Voix Humaines” (Op. 122, No. 7), 1858; recorded at Berliner Dom (Berlin Cathedral), Berlin, 2025

Commissioned by Seoul Museum of Art

Commissioned by Seoul Museum of Art, the new film 𝘽𝙤𝙮, 𝙎𝙤𝙣 (2026) is on view at the opening program 𝘉𝘳𝘦𝘢𝘵𝘩𝘪𝘯𝘨 of their new branch @seoseoulmuseumofart till March 22, curated by Sungmin Lee Jeong @ljsungmin 🚋✨

The film combines a recitation of Walt Whitman’s poetry by Christopher Merrill— an American poet and one of the foremost Whitman scholars—with the perspective of a tram conductor during an ordinary tram journey. It serves as an homage to Whitman (1819–1892), whose work Tak studied while at university in Seoul. In his early twenties, Whitman’s subversive poetry opened new ways for the artist to perceive the world and life itself.

Although Whitman is widely regarded as homosexual or bisexual and embraced progressive social ideals, he could not entirely transcend the racial and sexual prejudices of the 19th century. Thus, this film approaches his legacy not to heroize the poet but to follow his traces as that of a fellow traveler—shedding particular light on his lover, Peter Doyle, a streetcar conductor.

The film follows a brief journey of an old decommissioned empty tram operated by two elderly men. The scenes are acoustically filled with Merrill’s reading of Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧 and intermittently interrupted by the image of a man repeatedly inscribing “BOY” and “SON” onto his palm with a rusty nail— endearments that Whitman used for Doyle.

Credits
Director and Producer Young-jun Tak

Actors Erland Gjermstad, Rune Kjenstad, Andreas Sieling
Recitation Christopher Merrill

Director of Photography Jubal Battisti
Sound Recordists Ingar Pederson, Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Editor Clémentine Decremps
Assistant Editors Jake Flowers, Théo Perrot
Sound Mixer Felipe Vareschi
Colorist Sergej Jurisdizkij

Location
Sporveishistorisk forening, Trondheim

Poem
Walt Whitman, Song of Myself, 1881, Section 1, 51, 29, 5, 16, 20, 24, 46, 52, 31 (in order of recitation)

Commissioned by Seoul Museum of Art

Commissioned by Seoul Museum of Art, the new film 𝘽𝙤𝙮, 𝙎𝙤𝙣 (2026) is on view at the opening program 𝘉𝘳𝘦𝘢𝘵𝘩𝘪𝘯𝘨 of their new branch @seoseoulmuseumofart till March 22, curated by Sungmin Lee Jeong @ljsungmin 🚋✨

The film combines a recitation of Walt Whitman’s poetry by Christopher Merrill— an American poet and one of the foremost Whitman scholars—with the perspective of a tram conductor during an ordinary tram journey. It serves as an homage to Whitman (1819–1892), whose work Tak studied while at university in Seoul. In his early twenties, Whitman’s subversive poetry opened new ways for the artist to perceive the world and life itself.

Although Whitman is widely regarded as homosexual or bisexual and embraced progressive social ideals, he could not entirely transcend the racial and sexual prejudices of the 19th century. Thus, this film approaches his legacy not to heroize the poet but to follow his traces as that of a fellow traveler—shedding particular light on his lover, Peter Doyle, a streetcar conductor.

The film follows a brief journey of an old decommissioned empty tram operated by two elderly men. The scenes are acoustically filled with Merrill’s reading of Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧 and intermittently interrupted by the image of a man repeatedly inscribing “BOY” and “SON” onto his palm with a rusty nail— endearments that Whitman used for Doyle.

Credits
Director and Producer Young-jun Tak

Actors Erland Gjermstad, Rune Kjenstad, Andreas Sieling
Recitation Christopher Merrill

Director of Photography Jubal Battisti
Sound Recordists Ingar Pederson, Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Editor Clémentine Decremps
Assistant Editors Jake Flowers, Théo Perrot
Sound Mixer Felipe Vareschi
Colorist Sergej Jurisdizkij

Location
Sporveishistorisk forening, Trondheim

Poem
Walt Whitman, Song of Myself, 1881, Section 1, 51, 29, 5, 16, 20, 24, 46, 52, 31 (in order of recitation)

Commissioned by Seoul Museum of Art

Commissioned by Seoul Museum of Art, 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026) is my first-ever performance, taking place on March 20, 21, and 22 at 5:30 PM daily. It is part of the ambitious opening program 𝘉𝘳𝘦𝘢𝘵𝘩𝘪𝘯𝘨 of the new SeMA branch @seoseoulmuseumofart, curated by Sungmin Lee Jeong @sungminlj @ljsungmin. Without her encouragement, this exciting new challenge could not have been realized 💕

The performance is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who profoundly influenced my growth in my early 20s in Seoul. As if retracing the past days of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name Whitman once used for him—summoning and calling forth the meaning of existence.

Credits
Director Young-jun Tak

Actors Kim Eun-seok, Seol Jae-yup
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Kim Chulsoon, Daul Rheem

Light Technician Gong Yeon-hwa
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art

Commissioned by Seoul Museum of Art, 𝘾𝙖𝙡𝙡𝙞𝙣𝙜 (2026) is my first-ever performance, taking place on March 20, 21, and 22 at 5:30 PM daily. It is part of the ambitious opening program 𝘉𝘳𝘦𝘢𝘵𝘩𝘪𝘯𝘨 of the new SeMA branch @seoseoulmuseumofart, curated by Sungmin Lee Jeong @sungminlj @ljsungmin. Without her encouragement, this exciting new challenge could not have been realized 💕

The performance is led by one middle-aged performer and one young performer, the two figures subtly alluding to Walt Whitman and his male lover, Peter Doyle, who profoundly influenced my growth in my early 20s in Seoul. As if retracing the past days of the museum, the performers—dressed in construction workers’ overalls—go beyond merely portraying these historical figures, becoming instead two transcending boundaries, as envisioned in Whitman’s poem 𝘚𝘰𝘯𝘨 𝘰𝘧 𝘔𝘺𝘴𝘦𝘭𝘧: distinct yet coexisting.

The space, filled with the recitation of Whitman’s poetry, resonates with Doyle’s cry as he recalls the pet name Whitman once used for him—summoning and calling forth the meaning of existence.

Credits
Director Young-jun Tak

Actors Kim Eun-seok, Seol Jae-yup
Recitation Christopher Merrill
Organist Andreas Sieling

Coordinators Kim Chulsoon, Daul Rheem

Light Technician Gong Yeon-hwa
Sound Recordists Lauren E. Haldeman, Aude Langlois, Felipe Vareschi

Sound Mixer Felipe Vareschi
Audio Visual Arrangement Jake Flowers

Prop Maker NACA

Commissioned by Seoul Museum of Art